DEIVATHIN KURAL # 123
(Vol # 6) Dated 02 Feb 2013
(These e-mails are translations of talks
given by PeriyavaaL of Kanchi Kaamakoti Peetam, over a period of some 60 years
while he was the pontiff in the earlier part of the last century. These have
been published by Vanadi Padippagam, Chennai, in seven volumes of a thousand
pages each as Deivathin Kural. Today we are going ahead from the last paragraph
on page No 841 of Volume 6 of the Tamil original. The readers may note that
herein ‘man/he’ includes ‘woman/she’ too mostly. These e-mails are all
available at http://Advaitham.blogspot.com
the sweet confectioneries are made of sugar which is made from the juice of
Karumbu and the bow of Kãma / Manmata is made of that material, a
sweet bow made of sugar cane. Though the
sloka says that it is made of flowers, we are so used to the idea in our minds
that Kãma and Kãmeswari have
this bow made of sugar cane. In some
ways, it is also correct to say so.
Sweetness as a taste is very close to this feeling of affection and
love. The opposite sense is anger and
antipathy. If someone is angry and is
going to fight, it would have been more appropriate had he taken a red-pepper
as a weapon and not sugar-cane as a bow!
the world over sugar-cane is very sweet.
Then in the whole world the flower is the softest. A tree can be hard
and its bark may be rather ruff. Some of
them may also be having thorns. Though
the new leaves may be soft and tender, the slightly older leaves may be rough
and prickly. Then the fruit whether
small and raw or big and ripe, may be soft and nice for the touch. But undoubtedly it is the flower that is soft
and nice to the touch, colourful to look at and so pleasing for the eyes, and
invitingly fragrant and so appealing to the sense of smell and very ennobling
for the mind! However much a man may be
rough and tough, with the slightest dust or smoke, his eyes will be badly
affected, isn't it? Like that the banyan
tree may be so strong and mighty with a huge body of roots becoming trunks; but
its flower will still be so soft and tender!
From such flowers, if Manmata is having five varieties as his arrows,
does it not sound rather peculiar?
five is the number of arrows decided arbitrarily? The five is the number of arrows as each one
is aimed at, attracting one particular sense organ of ours. The flowers of Lotus, Asoka, Mango, Jasmine
and the Blue Lily used to be matched with one particular sensory organ in the
body and botany says that the flowers are the genitals for the plants and that
the honey bee and the beetle do the important job of cross pollination, which
is responsible with continued proliferation of the species! AmbãL also has the
same five arrows which are related to the five senses and what is enjoyed by
those sensors –as given in Lalitha Sahasranãma – 'pancha
tanmãtra sãyaka' – 'पञ्च तन्मात्र सायका'. They are five subtle senses
experienced by the sensory organs, namely – 'सब्दं' 'sabdam' – 'स्पर्शं' 'sparsam' – 'रूपं' 'roopam' – 'रसं' 'rasam' – 'गन्दं' 'gandam', which stand for the sense of – sound –
touch – form – taste – and smell respectively!
the arrows are indicative of and aimed at the five senses, what is the bow indicative
of, on which these missiles are based and launched? That bow is indicative of the mind on which
the five senses are based, as Lalitha Sahasranãma says, 'मनो रूपेक्षु कोदण्डा', to be read as, 'mano roopekshu kodanda'; meaning that 'she is having a
bow which is as though her mind has taken a form'! Then only the earlier quote of 'पञ्च तन्मात्र सायका' occurs. Not only that each flower
is indicative of a particular sense organ or its subtle sense perception known
as 'tanmãtra', in each flower all the five 'tanmãtras' are connected or related! If
there is flower, there will be the bee!
Flower cannot make sound, which is the only one missing amongst the five
So the bee makes-up for that lack or deficiency, I think. For touch it is soft, for form it is
colourfully beautiful, it provides the tasty honey and nice fragrance; which
means that the sense of sound is the only thing missing and that is made up by
the bees! Instead of people going in to
battle with sounds of rampant cacophony of 'Kill and Murder', this gentleman is
going into battle with the buzzing bees making up the cord of his bow!
the bow, its cord, arrows and everything seems to be good for nothing, when it
comes to fighting a battle as the sloka says, "धनु: पोउष्पं मोउर्वी मधुकरमयी
पञ्च विशिखा:" (Trace back for transliteration.) Sometimes the king may be a weakling but, his
Army Commander may be rough and tough, whose power and ability may the cause of
this king getting away with the winners name and fame! But here too there is only cause for
disappointment as his 'sãmanta:'
is 'vasanta:'! Manmata's sãmanta, his assistant is this
'vasanta' that is, the Spring Season! If
that season were to take a form as a person, he is said to be an assistant of
the God of Love, Cupid this Manmata! The
harsh winter is over and it is not yet the hot summer! Not cold and not hot, but just invigoratingly
pleasant, known as the 'இளவேனில் காலம்' in
Tamil. The trees that had shed their
leaves in the fall and remained bare in winter would be suddenly full of green
leaves and give shadow and there will be all sorts of flowers in a riot of
colours! This season is itself known as
'pushpa samayam' or the 'Time of Flowers'!
It is a season of feast for the eyes and nose and this gentleman
Vasantam is the Partner in Crime for this Manmata!
409. Then when you look at the chariot on which
Manmata is going to ride, you cannot help bursting out laughing! It is the, 'malaya marud ãyodhana ratha:' – 'मलय मरुद् आयोधन रथ:' – 'ratha:' means the chariot
ãyodhana ' means for
battle; the 'malay marud' is the pleasant breeze flowing from the 'maruda malai'
hills with the fragrance of sandal wood trees!
Instead of using destructive missiles and poison gas this fighter is
spreading the breeze of sandal wood fragrance.
It is also not a gale of a wind but the light breeze of 'manda
maruda'. Then if at least the bow and
arrows were visible, his accomplice and his chariot are invisible, as one is
only a season of the year and the other is movement of air in space that too is
'mandam' and not a gale of a wind! You
have to presume the arrival of Manmata's partner, the season of spring by the
greening of the countryside and the fragrance of the flowers. His chariot is of course unlike the monsters
of the modern wars known as Tanks, this breeze from the mountains is lightly
brushing against you!
410. More than anything else, this soldier himself
is the most surprising oddity of all!
This Manmata is 'Ananga'. He has
many names such as Madana, Mãran,
Kandarpan, and Kãma and many more. Still
the poet has specifically opted for the name 'Ananga' here in this sloka,
meaning 'an (or un) + anga = Ananga' which means without body parts. After Parameswara had burnt him off, though
AmbãL gave him back his life, she did
not give back the body. As he was
brought back to life to compensate for his wife's irreparable loss and agony,
AmbãL sanctioned that he may be
visible only to his wife! He was
retained as a force in being like air, light and sound without form. Normally a soldier will be having strong
limbs like that of a boxer or wrestler and his moustaches will be well oiled extending
to the ears like iron rods. Looking at
him we will feel afraid. Here this
soldier is not just bit weak or something but, is just not seen as he is
invisible! Like this Vasantan his
partner also does not have a form and his presence can only be guessed. Similarly his chariot of Malaya Mãruda can be guessed by the sense
of touch on our bodies. But this main
character is not only not visible, but also not easily discernible or guessed
by any of the senses. His effect is so
subtle that before we know anything, we are under his influence and even after
that we do not realise that fact! How
surprising that one without a body and using soft and powerless tools is able
to win mastery over the whole world!
411. At the time of Tripura Samhãra, for Parameswara, the huge and
massive Meru Mountain was his bow, the snake Vãsuki was the string in the bow, verily Maha Vishnu himself was
the arrow, the Sun and moon were the two wheels of the chariot, earth was the
platform on the chariot and Brhma himself was the charioteer. Though there was such a powerful confluence of
mighty powers, Parameswara did not make use of them at all. He did not lift even his finger let alone move
his limbs. He simply laughed thinking,
"When I have Para Shakti as my inner self, do I need all this assemblage
as my help?" At once the Tripura
Asuras were burnt to ashes! Despite
having powerful tools, he won without using them! Here Manmata wins over the whole world with
apparently flimsy weapons, unseen partner and formless chariot. In both the cases, AmbãL is the common factor. There by being the indwelling power she makes
Parameswara successful. Here by a light
glance of anugraha, she makes this Ananga victorious world over!
412. Making use of flimsy weapons and tools,
invisible chariot and equally unseen partner, this body less Ananga, despite
all that – 'tatãpi' –
'तथा अपि एक:' – single handed, this one man army
of Kãman, though he has a namesake
partner, without soldiers, horses or elephants; having only 'कामपि कृपां' just a little trace element of
your Anugraha of ते' = yours, 'अपान्गात' = glance of Grace,'लब्द्वा' = having obtained, 'जगद इदं' = all this world over, 'सर्वं विजयते' = wins them all completely.
Thus to give Anugraha to the created beings is part of the Mãyã Kãryam. Tripura Samhãra on the other hand is a total negation of everything
transitory and non-absolute such as space and time as well as (sthula स्थूल, sookshma सूक्ष्म, kãraNa कारण,
sareerã शरीरा) which are gross, subtle and
causal bodies respectively; that happens in world of non-creation! If that was the effectiveness of the total
power of AmbãL;
this job of Ananga is by an infinitesimal ray of glance of her powers. The destroyer of Tripura, Parama Siva could
also scorch this Kãman
because, in him was the complete influence of her powers while in Kãman it was only a trace of that
413. While talking about the victory of Kãman all over the world, and that
she caused his this victory; we should not be leaving at that. We should also be winning over him; and
remember that for that also AmbãL has
given the power to Parameswara as the indwelling Shakti. What we need is that power to erase Kãman from our minds. The poet has talked about the creative power
to point out that it is the Power that can create that can erase also! He has been given these flimsy tools despite
which he is victorious; so that he may not become conceited and retain humility.
414. That Ananga was once endowed with the most
beautiful body. Till day we use a phrase
'as beautiful as Manmata', because of the fact that he had such a fetchingly
beautiful body then. He then had such a
conceit. At that time the Devas were
suffering in the hands of Surapadma, who had a boon that only Siva's son could
kill him. Then Parameswara was in the
form of DakshiNa Murthy as a Tapasvi. At
that time AmbãL had
taken birth as the daughter of Himalayas, known as Parvata Raja Kumari alias Pãrvati. In this sloka that she is being referred as
'himagirisute' – 'हिमगिरिसुते', is absolutely appropriate and
in the rightness of things!
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